SAGHAR DAEERI
Artist's statement
I express the erotic lives of a group of women of this society, consumable - expositive culture of Tehrani girls which is estated in most special locative situation in every anthology.
This locative situation combines the subject with the viewer until it transforms to the modality of article in such a passive mode.
Extreme excessiveness makes her boisterous and transforms to homological article.
In the painter's mind, peoples' activity is slashed and this is getting so strong and goes on untill any individual transforms and this transformation becomes a routine joy little by little and this joy is so repeated and transforms to argument , Fashion ,and dispute to assimilate to each other .
This created essence is not apart from her no epochal essence.
The annotation of Tehrani girls in different locations and situations from Coffee shops to market places , MEDIA ( TV ) , ...in the small utopia which is produced by themselves and they are feeding from is very memorable by the painter .
So for this series that named : Beautiful , spacious , assured I can describe that :
Mass media is integrated into the context of late modernity everyday life, a zone of imposed ideology and taste-making, bringing on a false sense of awareness and freedom using the advertising means. This is the issue referred to in my recent painting series, Beautiful, Spacious, and Assured, which deals with fashion as a major aspect of this taste-making system, in one of its most exaggerated manifestations.
In my paintings my main actors of paintings are present-day young women of the capital, depicts this social game, focusing on the significant role of television media in its development. my women protagonists illustrate a frustrating repetitiveness, which is in sharp contrast with their extravagant fashion and style. Each of them believes in the freedom and creativity of her choice of dress and make-up; however, their striking sameness, as shown in the paintings, reveal a piteous monotony despite desperate struggle for uniqueness. Regardless of their identical appearance, these women may not be of the same social or economic class, but they all follow the same social structure with particular rules and policies, one significantly mediated by television media.
The role of television broadcasting in shaping identities in contemporary Iran has complex and paradoxical aspects. The emergence of multiple overseas satellite channels and their competition with official broadcasting has been of considerable significance especially in recent years. my paintings especially refer to “Farsi One”, a Dubai-based satellite channel, which enjoyed a sudden, widespread popularity all over Iran. because a tehrani girl has never heard or saw a romantic sequence or even romantic dialogue in state tv channels or even erotic sequence in Persian dubbed and …
Wide-ranging identification with characters of the serial movies, especially among women, expands the influence of the stories throughout the everyday life, manifesting in imitating the fashion and lifestyle, even calling friends and families with the characters’ names.
This impact and its role in developing the illusion of freedom constitutes the main grounds of my observation. The paintings are based on flat, sequential compositions, conforming to the structure of the televised image, and showing considerable difference. The horizontal lines refer to the noises and interferences. And showing the main importance of interferences that is became very current and popular during the recent year in channels that covers and broadcasts form out side of Iran . Motifs like extra-long artificial nails, details of luxurious cars along with extravagant makeups and violent acts of makeup artists dominant the paintings. The grotesque representation of the women takes them far away from serving a gender gaze. Any potential male character is replaced with phallic, pointed elements and …
Saghar daeeri …………………. 2010
